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Research Question Does a higher speaking rate lead to adjustment of the phonological structure or are we only dealing with phonetic compression? Phonetic compression is mainly shortening and merging of vowels and consonants with preservation of the phonological structure normalstretched

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There are different OT-grammars for different rates and styles of speaking (?) Phonetic Compression is not the sole explanation In fast speech it is more important to avoid clashes. The triplet patterns in fast Dutch speech resemble the patterns of e.g. Estonian rhythm. Conclusion from Phonological Analysis

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Phonology: In fast speech Mark >> Corr over Corr>>Mark is preferred, whereas it is the other way around in in Andante speech Mostly, this results in triplet patterns in allegro speech –This result resembles the preferences in andante and allegro music However, re-ranking of constraints for each different speaking rate, i.e. a different grammar, is a weakness –Why still alternations between allegro- and andante speech forms? Conclusion Auditory Analysis

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Phonetics: Acoustic correlates of stress do not show the expected and perceived differences in rhythm patterns Are we fooled by our brains, or has the appropriate correlate of secondary stress yet to be found? Preliminary Conclusion

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Phonetics: Something else must be involved Timing? Cognitive, communicatieve strategies of the listener? New hypothesis

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Discussion Rhythmic Timing: length between stu and toe in studietoelage (andante) is equal to length between stu and la in studietoelage (allegro)

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Listeners expect a prominent vowel at about 300 msec from the main stress syllable and therefore perceive a secondary stress at the (stressable) syllable which is nearest to that distance “Mental metronome”: ♩ = 100 ((main stress) beat) Conclusion acoustics

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Phonology: There are different OT-grammars for different rates and styles of speaking based on auditive analysis (it’s not just a matter of phonetic compression) All subjects prefer Corr>>Mark over Mark >>Corr in Andante speech, whereas it is the other way around in Allegro speech This result resembles the preferences in andante and allegro music Conclusion

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Phonetics: Acoustic correlates of stress do not show a difference in rhythmic pattern; secondary stress is only perceptual –Not: “meten is weten” ‘to measure is to know’ (as we say in Dutch) The perception of a rhythmic difference between andante and allegro words is based on timing differences: the “mental metronome” –In music theory it is well-known that rhythm is perceived as more regular than it in fact is Apparently: undominated OT-constraint ‘Metronome’ Conclusion

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Why would listeners hear things that are not present in the sound signal? –‘Internal metronome’ is used to anticipate on prominent parts of a message –Anticipatory communicative strategy, because of limited working memory –Equal tuning of speech rate speaker – listener leads to optimal communication Discussion